DOCSLIB.ORG

Imagine Moscow: Architecture, Propaganda, Revolution 15 March – 4 June 2017 the Design Museum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imagine Moscow: Architecture, Propaganda, Revolution 15 March – 4 June 2017 the Design Museum Image credit: Cloud Iron by Lissitzky, courtesy of Van Abbemuseum imagine moscow: architecture, propaganda, revolution 15 March – 4 June 2017 the Design Museum The exhibition explores six unbuilt architectural landmarks in Moscow from the 1920s and 1930s following the Russian Revolution Featured projects include the Palace of the Soviets, planned to be the world’s tallest building, and Cloud Iron, a network of horizontal skyscrapers Marking the centenary of the Russian Revolution, Imagine Moscow: Architecture, Propaganda, Revolution explores Moscow as it was envisioned by a bold generation of architects in the 1920s and early 1930s. Featuring rarely seen material, the exhibition outlines an idealistic vision of the Soviet capital that was never realised. Focusing on six unbuilt architectural landmarks located near Moscow’s Red Square, the exhibition explores how these schemes reflected changes in everyday life and society following the October Revolution. Large-scale 1 architectural plans, models and rarely seen drawings are placed alongside propaganda posters, textiles, porcelain and magazines of the time; contextualising the transformation of a city re-born as the new capital of the USSR, and the international centre of socialism. Image credits: Valentina Kulagina, We Build, 1930's, Ne boltai! Collection; Gustav Klutsis, Photomontage, lithography on paper, 1924, Ne boltai! Collection; Valentina Kulagina, To the Defence of the USSR, Poster, 1930, Ne boltai! Collection In the search of a new future, architects aimed to reinterpret the old idea of the city through new symbolism, new monuments and new institutions – creating factories, theatres, communal housing and ministries. These dream-like projects suggest an alternative reality for a series of sites around the city, offering a unique insight into the culture of their time. Each project introduces a theme relevant to life and ideology in the Soviet Union: industrialisation, urban planning, aviation, communication, communal living and recreation. Alongside the six unbuilt architectural case studies, the exhibition features a dedicated room to the geographical and ideological centre of this new Moscow, the Lenin Mausoleum. The display includes the architectural designs of Aleksey Schusev’s Mausoleum as well as the rarely seen competition entries submitted by both professional designs and the public. Eszter Steierhoffer, curator of Imagine Moscow said: ‘The October Revolution and its cultural aftermath represent a heroic moment in architectural and design history. The designs of this period still inspire the work of contemporary architects, and the radical ideas in the exhibition remain highly relevant to cities today. Imagine Moscow brings together an unexpected cast of ‘phantoms’ – architectural monuments of the vanished world of the Soviet Union that survive in spite of never being realised.’ Presented through plans, models, reproductions and projections; the six unrealised projects on display are Nikolai Ladovski’s Communal House (1920), EL Lissitzky’s Cloud Iron (1924), Ivan Leonidov’s Lenin Institute (1927), Nikolai Sokolov’s Health Factory (1928), three competition entries for the ‘Narkomtiazhprom’ building by the Vesnin brothers, Ivan Leonidov and Konstantin Melnikov (1934-1936), and Boris Iofan’s winning entry for the Palace of the Soviets (1932). The projects are placed in context with objects of art and design by Vladimir Klutsis, Alexander Rodchenko, Valentina Kuliguna, Yakov Chernikov and many others. 2 - With its striking futuristic aesthetic, ‘Cloud Iron’ by Lissitzky set out to create a series of eight lightweight horizontal skyscrapers. Lissitzky’s plan addressed Moscow’s most pressing urban problem of overcrowding and the inadequacy of public transport. The eight buildings were to directly connect office and living space on the upper floors with new tram and metro stations on the lower floors. Inspired by Lissitzky’s artistic concept of the ‘Proun space’, ‘Cloud Iron’ represented a move from the canvas to the real world for the designer and artist. - The most well-known scheme in the exhibition is Iofan’s winning entry for the Palace of the Soviets competition. The ultimate monument of Soviet power at the time, the project was set to become the tallest building in the world, beating the Empire State Building in New York. Topped with a 100m statue of Lenin, the project was conceived to replace the demolished Cathedral of Christ the Saviour, located close to the Kremlin. Construction started in in 1937 but was soon terminated due to the German invasion in 1941. Its steel frame was repurposed for fortification and bridges, and the foundations were turned into the world’s largest outdoor swimming pool. In 1995 the Cathedral was rebuilt to the exact look and specification of the previous version as if nothing had changed on the site. - Leonidov’s Lenin Institute was a monumental library and planetarium with the aim to congregate all human knowledge and to educate the new Soviet man. The circular volume of the building was designed to enclose an auditorium, while the gravity defying tower served as motorised book storage. Utilising the most advanced engineering and technology of the time, the complex was to be linked with Moscow via an aero-tram, and connect to the rest of the world via a powerful radio station. - Similar to other constructivists, Sokolov’s work in architecture explored the theories of the ‘living cell’. His highly expressive graphic plan for the Health Factory proposed a retreat on the coast of the Black Sea. The project consisted of individual capsules for isolated rest and a communal hall for eating and other collective activities. Sokolov’s proposal promoted productive rest as a key element of the economy and the values of the new Soviet society. - Ladovski’s Communal House became one of the earliest and most iconic symbols of the Soviet idea of communal living that aimed to revolutionise traditional family structure, and to transform the role of the female in society. Utilising the shape of a spiral, Ladovski’s design merged individual living units into a united space, and alluded to the symbolism of progress. - The Narkomtiazhprom was intended to house the People’s Commissariat of Heavy Industry. The large-scale building would have occupied a site of just under 10 acres directly opposite the Lenin Mausoleum. The design competition received numerous entries, mainly from Soviet architects. While there was no winning 3 design selected, the architectural proposals by the Vesnin brothers, Leonidov, and Melnikov are outstanding examples of a new typology of architecture that alludes to the new industrial landscape of the Soviet Union. The exhibition brings together large-scale reproductions of architectural drawings from the Schusev Museum of Architecture (MUAR) with original drawings and artworks, magazines, news reels and applied art objects. Imagine Moscow features loans rarely seen in the UK from the Ne Boltai! Collection in Prague, the Van Abbemuseum in Eindhoven, the Alex Lachmann Gallery in Cologne, the Tchoban Foundation in Berlin, the Collections of the British Library and other private collections. #ImagineMoscow Ends. PRESS ENQUIRIES: Jordan Lewis, Design Museum Press and PR Manager the Design Museum, 224-238 Kensington High Street, London, W8 6AG E: [email protected] T: +44 (0)20 3862 5914 OPENING TIMES AND TICKET INFORMATION: Open daily 10:00 – 18:00 (last admission 17:00) Adult £10 Student/concession £7.50* Family (1 adult + 3 children) £17 Family (2 adults + 3 children) £24 Child (6 - 15 years) £5 Children under 6 years free Members free Exhibition design team: Kuehn Malvezzi and Kellenberger-White All six projects with be presented through an innovative exhibition design organized around the spatial diagram of a spiral, a highly symbolic architectural form of the time. Large scale environmental graphics create a sensory experience that transports visitors back in time to look at the future of the imaginary city of Moscow. Exhibition catalogue: Imagine Moscow publication will be available at the Design Museum Shop during the exhibition. The publication includes a curatorial introduction as well as newly commissioned essays by Richard Anderson, Deyan Sudjic, a historic text by EL Lissitzky and a number of colour illustrations reproduced from the exhibition, designed by stsq. The Imagine Moscow publication will cost £12 designmuseumshop.com 4 Curatorial team: Exhibition Curator: Eszter Steierhoffer Curatorial Assistant: Eleanor Watson; Curatorial Research Assistants: Kristina Ailane, Helen Ilka, Constanza Larach, Anya Smirnova, and Olga Vaigatcheva Exhibition features loaned object from: Ne Boltai! Collection, Prague Galerie Alex Lachmann, Cologne Tchoban Foundation, Berlin Vladimir Tsarenkov, London Alexander Kushaev, London Van Abbemuseum, Eindhoven Cotsen Foundation for Academic Research, Los Angeles Annely Juda Fine Art, London Drawing Matter, Somerset Cambridge University Library, Cambridge The British Library, London AntikBar, London Schusev Museum of Architecture (MUAR), Moscow Russian State Archive of Socio-Political History (RGASPI), Moscow Public programme at the Design Museum: Imagine Moscow: Lectures on Russian design Tuesday 21 March, 18:15 – 19:30 Adult £10, student/concession £7.50, members £5 An evening course running between March and May exploring the history of Russian modernity, propaganda and new frontiers in Russian design. Delivered in partnership with GRAD Gallery. Design on Film: Revolution
Load more

Recommended publications
  • Design Museum Annual Review 2017-2018
    annual review 2017–18 designmuseum.org Annual Review 2017–18 Contents 3 Chairman’s Introduction 5 2017–18 Exhibitions 19 Designers in Residence 21 Learning 23 Research and Collection 25 The Global Museum 29 Building Partnerships 31 Engaging Audiences 33 Financial Review 35 Supporters Interior view of the Design Museum Chairman’s Introduction The Design Museum has now been open in its new Kensington home for 18 months and in this period it has welcomed more than 1m visitors, taught more than 60,000 learners in specific programmes, staged a series of critically acclaimed exhibitions, and run a provocative and engaging public programme. More recently the museum has won the European Museum of the Year award, further building upon these successes. We are proud of this achievement. In 2017–18 the museum sold a record 160,000 exhibition tickets and raised over £10m in income from admissions, commercial activities and fundraising efforts, doubling in scale from previous years at our former home in Shad Thames. This transformational achievement is the product of the imagination, continued commitment and generosity of our founder, Sir Terence Conran, the support of our donors and funders, an enterprising approach to running the museum and the sustained effort of our staff, volunteers and trustees. We have demonstrated that design is as much a part of the cultural landscape as contemporary art, music or theatre. The Design Museum’s purpose is to make the impact of design visible to the public, to policymakers, to educators, to industry and to entrepreneurs. We are a significant cultural institution with national and international stature that measures itself against the intellectual ambition of peers the world over.
    [Show full text]
  • "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
    "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
    [Show full text]
  • Azzedine Alaïa: the Couturier Tour Proposal
    Azzedine Alaïa: The Couturier Tour proposal © GILLES BENSIMON / TRUNK ARCHIVE 2 Contents Exhibition overview 4 The themes 6 What are they saying 7 Exhibition details 8 Terms and conditions 9 Contact 10 The Design Museum Touring Programme The Design Museum Touring Exhibitions Programme was set up in 2002 with an aim to bring design exhibitions to audiences around the UK and internationally. Since then, the Museum has toured more than 100 exhibitions to 96 venues in 26 countries worldwide. In May 2018, The Design Museum was awarded the title of European Museum of the Year and commended by the panel for its effort in developing ‘an important democratic and multi-layered intercultural dialogue, with a significant social impact in the community’. The Design Museum touring exhibitions range in size from 150 to 1000 square metres and cover all areas of design – architecture, fashion, furniture, graphics, product, and more. EXHIBITION VIEW, ‘REVOLUTIONARY SKINS’. CREDIT: MARK BLOWER. 3 Exhibition overview EXHIBITION VIEW, ‘EXPLORING VOLUME’. CREDIT: MARK BLOWER. The first UK exhibition to present the outstanding work and creative talent of the Tunisian born Parisian fashion designer, Azzedine Alaïa: The Couturier was developed by the Design Museum in close collaboration with the designer and his team at Maison Alaïa. Azzedine Alaïa is known as one of the fashion industry’s free spirits, revered by stars and designers. Before his untimely passing last year, Alaïa produced a significant and highly influential body of work, from early made-to-measure garments for private clients such as Arletty and Greta Garbo to successful ready-to-wear collections in the 1980s which established his reputation in Europe and the US for his ‘second skin dressing’.
    [Show full text]
  • Design Field Dice
    DESIGN ACTIVITY (6–12 GRADE) Design Field Dice Learners will create several concepts ideas using randomly selected categories. There are up to 216 combinations! Learners will... • Name the seven design fields along with a real world example of each field • Critique their own or a partner’s designs • Design 3-5 concepts within their selected design field DESIGN ACTIVITY (6–12 GRADE) Instructions Instruct them to choose their top two ideas to present to you 1 Before starting, print out and build the attached dice, or 7 follow this link to a digital randomizer for those without or a partner. Ask them to prepare a short presentation about printers or looking to save paper. their designs, including a section that addresses why their designs would benefit their audience. 2 Start by having a conversation about the design fields (use the definitions on page 3). Make sure to ask your learner to 8 Between each presentation, give your learner feedback on name an example of each field in their own daily lives. their design, phrased in questions. Examples: This is great! Looking at it now, what would you change? Can this be used by several people at once? How do you think we Hand your learner a drawing surface and utensil. Think 3 could build this? Who should we ask more information from? pencils, markers, paint, tablets, paper, whiteboards. 9 Repeat this cycle as many time as you’d like! 4 Have your learner roll each die (in person or digitally) and write down their results. 10 Debrief with them. Ask them about their experience and which field most closely aligns with their interest.
    [Show full text]
  • Designs of the Year 2015: Nominees Announced
    DESIGNS OF THE YEAR 2015: NOMINEES ANNOUNCED 76 NOMINATED PROJECTS INCLUDE AN OFF-GRID ECO TOILET, MICROCHIPS THAT MIMIC HUMAN ORGANS, A CAMPAIGN PROMOTING UGLY VEGETABLES AND A BOOK PRINTED WITHOUT INK 2015’s Designs of the Year nominees, announced today by London’s Design Museum, represent the global breadth of design talent, featuring some of the industry’s biggest names alongside rising stars and little-known practices. Google’s self-driving car, Frank Gehry’s Fondation Louis Vuitton and Asif Kahn’s Sochi Olympic Megafaces are just some of the high-profile projects to be represented in the exhibition of nominees which opens at the Design Museum on 25 March. Now in its eighth year, Designs of the Year celebrates design that promotes or delivers change, enables access, extends design practice or captures the spirit of the year. The international awards and exhibition showcase projects from the previous year, across six categories: Architecture, Digital, Fashion, Product, Graphics, and Transport. Design experts, practitioners and academics from across the world are asked by the Design Museum to suggest potential projects, from which the museum has selected 76 for nomination and display in the exhibition. A specially selected jury chooses a winner for each category and an overall winner. Designs of the Year’s wide-ranging scope provides a snapshot of the contemporary concerns of the design world, with nominees coming from over thirty countries across five continents. A strong theme for 2015 is the desire to harness new technologies to solve long-standing problems, as seen in projects as diverse as the world’s first lab for 3D printing prosthetic limbs, and the Moocall sensor which is connected to a cow’s tail and texts the farmer when calving is imminent.
    [Show full text]
  • Soviet Books 2015
    www.bookvica.co.com 2015 EARLY SOVIET BOOKS 1917-1940 4. [STENBERG BROTHERS DESIGN] 4. [STENBERG BROTHERS DESIGN] O'NEILL, E.G. Lyubov' pod vyazami. Pyesa v tryokh deistviyakh / Perevod P. O'NEILL, E.G. Lyubov' pod vyazami. Pyesa v tryokh deistviyakh / Perevod P. Zenkevicha i N. Krymovoi [Desire under the Elms: Three act play / Translat- Zenkevicha i N. Krymovoi [Desire under the Elms: Three act play / Translat- ed by P.Zenkevich and N. Krymova]. Moscow; Leningrad: MODP i K, 1927. 48 ed by P.Zenkevich and N. Krymova]. Moscow; Leningrad: MODP i K, 1927. 48 pp.: ill. 24x16 cm. In original illustrated wrappers. Covers rubbed, some pp.: ill. 24x16 cm. In original illustrated wrappers. Covers rubbed, some foxing, light crease and previos owner's pencil signature on the first page. foxing, light crease and previos owner's pencil signature on the first page. Otherwise very good. Otherwise very good. First edition of the play. The poster to the play Desire under the Elms made by Stenberg First edition of the play. The poster to the play Desire under the Elms made by Stenberg brothers was used for the front cover of this edition. The play was first staged in Russian brothers was used for the front cover of this edition. The play was first staged in Russian in the Kamerny Theatre by A. Tairov in 1926. Stenberg brothers were invited as artists to in the Kamerny Theatre by A. Tairov in 1926. Stenberg brothers were invited as artists to this production. The text is accompanied by a few photographs taken during the play.
    [Show full text]
  • Manufactured Proletariat: Constructivism and the Stalinist Company Town
    86'rH ACSA ANNUAL MEETING AND TECHNOLOGY CONFERENCE 655 Manufactured Proletariat: Constructivism and the Stalinist Company Town GREG CASTILLO University of California, Berkeley A procession of clashing architectural styles documents the "From the Constructivists to the World."' El Lissitzky, who USSR's attempt to devise the environment for a socialist helped found Switzerland's Constructivist architectural asso- "new man." Of these, Constructivism is conventionally seen ciation (but declined to join its Soviet equivalent), declared as an emblem of the Great Utopia, a vision of this project the factory "the crucible of socialization for the urban popu- predating its totalitarian metamorphosis. But, for areputation lation" and "the university for the new Socialist man."J as the antithesis of "Stalinist" architecture, Constructivism's Constructivists venerated machine environments for their timing is problematic, to say the least. Constructivism came ordained capacity to transform human nature. Aleksandr into its own during the First Five-Year Plan (1928-32), an era Vesnin praisedengineering's invention of "objects of genius" that witnessed the rise of Stalin's "cult of personality" and his and called for artists to create devices equal in the "potential campaigns to collectivize agriculture and industrialize at energy of their psycho-physiological influence on the con- breakneck speed. This period, marked by the emergence of sciousness of the indi~idual."~The factory was considered the Stalinist state, corresponds to the building of the most potent specimen of the "social condenser" - building Constructivism's canonic monuments.' types that, while fulfilling basic social needs, instilled social- In servicing the First Five-Year Plan, Constructivist archi- ist modes of behavior and thought.
    [Show full text]
  • Summer Catalogue 2018
    www.bookvica.com SUMMER CATALOGUE 2018 1 F O R E W O R D Dear friends and collegues, Bookvica team is excited to present to you the summer catalogue of 2018! The catalogue include some of our usual sections along with new experimental ones. Interesting that many books from our selection explore experiments in different fields like art and science themselves. For example our usual sections of art exhibition catalogues and science include such names as Goncharova and Mendeleev - both were great exepimenters. Theatre section keeps exploring experiments on and off stage of the 1920s under striking constrictivist wrappers. We continue to explore early Soviet period with an important section on art for the masses where we gathered editions which shed light on how Soviets used all available matters to create a new citizen on shatters of the past and how to make him a loyal tool of propaganda. Photography and art of that period is gathered in a separate section with such names like Zdanevich and Telingater among the artists. Books on architecture include Chernikhov fantasies, Stepanova’s design of metro book, study of Soviet workers’ clubs and the most spectacular item is account of the work made by architecture studios in early 1930s led by most famous Russian architects. Probably the jewel of our selection is a rare collection of sheet music from 1920s-30s or more precisely cover designs. We have been gathering them for a year and are happy to finally share our discoveries on this subject with you. Don’t miss too small but very interesting sections of Ukrainian books and items on Women.
    [Show full text]
  • Designer-Authored Histories: Graphic Design at the Goldstein Museum of Design Steven Mccarthy
    Designer-Authored Histories: Graphic Design at the Goldstein Museum of Design Steven McCarthy This paper is based on a presentation made The idea that graphic designers could, and would, create their own in 2005 at the New Views: Repositioning histories through their writing, designing, and publishing can be Graphic Design History conference held at the found throughout the twentieth century. Whether documentary, London College of Communication. reflective, expressive, critical, self-promotional, comparative, or visionary, designers have harnessed the means of production to 1 For further reading on design authorship: state their views in print—a concept and a practice that parallels Anne Burdick, ed., Emigre 35 and 36: Clamor over Design and Writing (Sacramento, CA: most of the discipline’s growth and maturity. Jan Tschichold’s Emigre, Inc., 1995, 1996). influential New Typography, published in 1928, Eric Gill’s polemical Steven McCarthy, “What is Self-Authored book, An Essay on Typography, from 1931, and Willem Sandberg’s Graphic Design Anyway?” Design as Author: Voices and Visions poster/catalog Experimenta Typografica books, begun in the 1940s, are just a few early (Highland Heights, KY: Department of Art, examples that illustrate how graphic designers and typographers 1996). have advanced their ideas through self-authorship. Cristina de Almeida, “Voices and/or Visions” Design as Author: Voices and Visions On the intellectual heels of deconstruction, semiotics, poster/catalog (Highland Heights, KY: conceptual art, and postmodernism, and enabled by new Department of Art, 1996). technologies for the creation, production, and distribution of Michael Rock, “The Designer as Author” Eye, no. 20 (London: Emap Construct, 1996).
    [Show full text]
  • Nodem 2014 Conference & Expo
    ENGAGING SPACES Interpretation, Design and Digital Strategies Proceedings Editors Halina Gottlieb Marcin Szeląg NODEM 2014 CONFERENCE & EXPO ENGAGING SPACES Interpretation, Design and Digital Strategies December 1-3, 2014 Warsaw, Poland Proceedings Editors Halina Gottlieb Marcin Szeląg Welcome to the NODEM 2014 Conference We are delighted to give a warm welcome to the NODEM 2014 conference participants who have responded to our invitation, and we hope that you will find the conference informative and worthwhile. We are gratified that many participants from our previous NODEM conferences continue to engage in our interdisciplinary effort to address challenges and opportunities facing museums and cultural heritage institutions. We are proud that participation at NODEM conferences is becoming more global in reach involving culture heritage professionals from South America, Asia and USA. Our highest priority is to provide the most stimulating sessions and exhibitions for sharing know-how, generat- ing ideas and starting collaborations. The primary goal of the NODEM conference Engaging Spaces is to bring together heritage professionals, museum researchers as well as ICT experts from around the world in an open dialogue to discuss the issues facing newly built or renovated museums and other culture-historical institu- tions to stay competitive in engaging today’s visitors. We hope that our diverse and dynamic group of keynote and special session speakers and exhibitors provide new insight about practical tools, engagement models and methods for heritage institutions to become more effective in the on-going development efforts of involving visitors through interpretative content and design and digital strategies. On behalf of NODEM 2014 conference organizers and partners we would like to thank you for choosing to at- tend the NODEM 2014 conference.
    [Show full text]
  • David Adjaye: Making Memory 02 February – 05 May 2019 the Design Museum
    Smithsonian National Museum of African American History and Culture, Credit: Alan Karchmer David Adjaye: Making Memory 02 February – 05 May 2019 the Design Museum #MakingMemory @DesignMuseum The Design Museum presents a new exhibition that explores the role of monuments and memorials in the 21st century, through seven projects by celebrated British–Ghanaian architect, Sir David Adjaye OBE. The exhibition features projects such as the Smithsonian National Museum of African American History and Culture in Washington D.C, the new National Cathedral of Ghana in Accra and the UK Holocaust Memorial and Learning Centre1 in London. Highlights include a full-scale section of the Sclera Pavilion for London Design Festival 2008, a replica library area from the Gwangju River Reading Room in South Korea, as well as inspiration materials including a sculpture by the early 20th-century Yoruba artist Olowe of Ise. In this exhibition, celebrated architect Sir David Adjaye OBE will examine the idea of the monument and present his thinking on how architecture and form are used as storytelling devices. Monuments are a record of who we are and are deeply ingrained in our psyche as a way of memorialising our 1 Led by Adjaye Associates, with Ron Arad Architects as Memorial Architect, and Gustafson Porter + Bowman as Landscape Architect. 1 triumphs and failures. However, the form that monuments take, and the way they are experienced, is constantly changing. This exhibition shows that contemporary monuments are no longer static objects in a field – plaques, statues or neo-classical sculptures – but are dynamic and complex spaces that serve a wider purpose.
    [Show full text]
  • Gustav Klutsis Poster Collection 1930–37 1 for Sale from Productive Arts
    Gustav Klutsis Poster Collection 1930–37 1 For Sale from Productive Arts This collection of historically important posters by Gustav Klutsis are excep- tional examples of how the avant-garde artist and celebrated graphic designer pioneered the use of photomontage in Soviet political poster design. Howard Garfinkel and Larry Zeman of Productive Arts became interested in avant-garde art and design after traveling to Russia as students in 1971. Productive Arts was formed in 1989 to offer Constructivist and Soviet-era posters, graphics, illustrated books, journals, and photobooks. In 2008, they became members of the Antiquarian Booksellers’ Association of America (ABAA) and the International League of Antiquarian Booksellers (ILAB). The twenty-three posters featured in this catalog are one of the largest accu- mulations owned by private hands. Four posters in the group were included in the comprehensive exhibition Gustav Klutsis and Valentina Kulagina: Photography and Montage After Constructivism at the International Center of Photography, New York City, 2004. The collection is sold en bloc. All posters are in very good, original vintage condition. Price, additional photos and detailed condition reports are available upon request. !PRODUCTIVE ARTS! Howard Garfinkel and Larry Zeman [email protected] www.productivearts.com 216.262.0578 2 3 Gustav Klutsis Poster Collection 1930–37 Published between 1930 and 1937, the collection of Gustav Klutsis (Latvian, art (drawing, painting, engraving), with backward technique and methods of 1895–1938) posters featured in this catalog span the period from the early work, turned out to be inadequate to the mass agitation of the Revolution”. years of Joseph Stalin’s Five-Year Plan and end shortly before the artist’s Instead, Klutsis declared photomontage to be the new art form for socialist arrest and execution in 1938.
    [Show full text]